By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 6:30. Published by Manhattan Beach Music.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2-2.5

SKU: CF.YPS38

There's No Place Like. Composed by Robert Allen. Arranged by Larry Clark. FS-SWS. Carl Fischer Young Performance Series. Score and Set of Parts. With Standard notation. 16+8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+2+1+2+2 pages. Carl Fischer Music #YPS38. Published by Carl Fischer Music (CF.YPS38).

ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.

The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style” section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Cabasa, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Ride Cymbal and more. - Grade 1.5

SKU: CF.FPS150F

Composed by Matthew R. Putnam. First Plus Band (FPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #FPS150F. Published by Carl Fischer Music (CF.FPS150F).

ISBN 9781491152782. UPC: 680160910281.

The title is a play on words, but the composer had his own ulterior motives in mind when composing this piece. He wanted a piece that was fun to play, but that helped developing musicians work on their rhythmic skills. Matt Putnam uses the feel of action film soundtracks to create the mood of this interesting new piece. Interesting grooves in the percussion throughout add to the piece’s feel of mystery and thrill.
To understand my thoughts in writing this piece, I thought it best to define the two ideas that give the piece its title: ulterior motives and musical motifs. Ulterior motives occur when you believe that a person is doing something for some unknown or hidden reason. Often, they are used in action films or literature to increase the drama and tension of the story. Musically, a motif is a short rhythmic and/or melodic idea. When I wrote this piece, I must confess that I had my own ulterior motives: I wanted to create a piece that was fun to play, but I also wanted a piece that would help students develop their rhythmic counting skills. In this piece, I use a motif of a two eighth-note pattern which jumps from section to section to help me achieve my ulterior motive.Mimicking the mood of action films whose characters often have ulterior motives, the mood of the piece is suspenseful and exciting as the motif jumps from section to section throughout the ensemble. The motif keeps you guessing as it occurs on all four different beats of the measure sometimes ascending, sometimes descending, and occurs sometimes in the interval of a second and sometimes the interval of a third. Interesting grooves in the percussion throughout add to the piece’s feel of mystery and thrill.I have no ulterior motives when I say that I hope you enjoy playing Ulterior Motifs.

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225F

Composed by Larry Clark. Concert Band (CPS). Full score. With Standard notation. 32 pages. Carl Fischer Music #CPS225F. Published by Carl Fischer Music (CF.CPS225F).

ISBN 9781491153192. UPC: 680160910694.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Tom-tom, Trombone and more. - Grade 1.5

SKU: CF.FPS155

Composed by Larry Clark. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3+2+1+2+3+16+2 pages. Duration 2 minutes, 11 seconds. Carl Fischer Music #FPS155. Published by Carl Fischer Music (CF.FPS155).

ISBN 9781491152157. UPC: 680160909650.

Quest for the Throne evokes images of kings and castles, knights and horses, and dragons in all their glory. It is a bold and aggressive piece throughout, but includes a contrasting, lush secondary theme for variety. In his typical style, Clark has used forceful figures, and strong melodic content to give students music they'll want to practice and play again and again.
This piece should depict images of kings and castles, knight and horses, dragons and damsels in distress. It should be bold and aggressive throughout, but never with bad tone. This is then contrasted by the lush second theme that is presented first in a softer thin orchestration, but later becomes a change for the whole ensemble to play in a strong, but lush presentation of this theme.One thing that is important to me when writing music for younger students is to offer pieces that challenge all students in the ensemble and give every section an important part of the musical presentation, which naturally should include some melodic material. Every member of the ensemble wants to feel that they are contributing to the collective whole.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.